Well, again these are the Iconic large chamber classic jazz mouthpieces.  Everyone from Benny Golson, Charlie Rouse, John Coltrane made their signature tones on these.  They cover many album covers from the 1940’s to the 1960’s and beyond with good reason.

This piece is a very very rare original 7 table stamped facing.  A piece like this would only have been a special order from the factory in a size this large.  The facing tip and rails appear to still have a fair amount of plating cover, though there is some plating loss and wear.  The tip measures for me at .110 (shocking I know). In my experience Links of this period are usually below .090 at stock sizes, though generally the measurements were not very consistent, so as unusual as this is, it is also not surprising that it does not correspond to what a 7 would be now, or then.

The biteplate shows some indentation, as evidence that someone loved this piece.  it does play rather loud for me with a hard 2.5 strength reed on it, kind of unexpectedly edgy and aggressive but your response may vary depending on reeds and other factors.  It does not visually appear to have a high baffle, yet the entire ramp and floor has a subtly curving angle which may have something to do with that power.  TO me, for the size as well, it was really not hard to play.  It actually felt pretty easy and I usually play around .098 or so.

Again this is very very rare.  I have had a couple in my life and this table stamped 7 is the real stamp in the original gold plating.  The mouthpiece HAS lived a life so it is not mint but it is very rare.  This also happens to be the later (latest) model of Tonemaster, which we see in the Bluetrane, Soutrane and Giant Steps album covers.  it is a slightly different design from the earlier ones, with inner contours a bit more similar to the early NY Double Ring “super tonemasters”, therefore I feel these are a bit of a transitional model as well.